1. Field of the invention
The present invention relates generally to musical instruments and, more particularly, to devices for use with bowed stringed instruments.
2. Related Art
Bowed stringed instruments such as the violin, viola, cello and double bass produce tones when a bow is drawn across the strings (arco) or when they are finger-plucked (pizzicato). The construction of bowed stringed instruments are quite similar. The violin, for example, includes a belly, top or soundboard defining the front of the violin, typically constructed of well-seasoned spruce; a back, usually made of well-seasoned maple; and ribs. The front, back and ribs are joined together to form a hollow sound box. Additional components of the violin include a neck, fingerboard, pegbox, scroll, bridge, tailpiece, and f-holes or soundholes.
The sound box contains a sound post and bass-bar to assist in the transmission of sound while providing additional support to the sound box construction. The sound post is a thin, dowel-like length of wood secured inside the sound box below the right side of the bridge, connecting the front and back of the violin. The bass-bar is a long strip of wood glued to the inside of the front under the left side of the bridge.
The strings of the violin are fastened to the tailpiece and pegbox. The strings rest on the bridge and are suspended over the fingerboard. At the pegbox the strings are attached to tuning pegs that can be turned to change the pitch of the string. The strings are set in vibration and produce sound when the player draws the bow across them at a right angle near the bridge. The violin has four strings tuned a fifth apart, to the notes g', d', a', e'. The bow is a narrow, slightly incurved stick of pernambuco approximately 70-75 cm long, with a band, typically horsehair, stretched from end to end of the bow stick. Sympathetic vibrations produced between the stringed instrument's top and back plates add resonance and volume to the sound.
The duration of a bowed stringed instrument's useful life and its condition during that time are directly related to the care taken to maintain and preserve the instrument. There are many conditions and circumstances to be aware of and guard against. For example, the critical effects of atmospheric changes must be considered to maintain a bowed stringed instrument in optimal condition. Various other dangers such as shocks and blows constantly threaten a bowed instrument's health.
With regard to the latter threat, of particular concern are the edges of bowed stringed instruments. The thin, fragile edges of bowed stringed instruments extend beyond the ribs and wear through the years due to constant use and damage. Cracks eventually form at the edges and travel along the top and bottom plates, degrading the performance of the instrument.
Traditionally, a purfling is inlayed into the edge of the stringed instruments to protect the edges. Because it is inlayed to approximately half the thickness of the edge, the purfling prevents further continuation of cracks that often begin at the vulnerable end grain of the plates. Although purfling tends to hinder the process of edge wear, it does not prevent initial damage to the edges themselves. Such damage may be caused by contact with the fingers and hands of the players. However, of particular concern is damage caused by the inadvertent striking of the edge with the bow during use of the instrument. For violins and violas, such contact usually occurs during vigorous up-bow strokes, while for cellos and basses, such contact usually occurs during vigorous down-bow strokes. Such contacts often nick, scratch, dent or otherwise cause permanent damage to the edges of the bowed stringed instrument. Accordingly, there is a great risk of damage to the edge of the top plate in the narrower waist region of the stringed instrument sound box between the upper and lower bouts.
Violinists, for example, often use surprising speed and force when playing the violin. A noted characteristic of the violin is its singing tone and potential to play rapid, brilliant figurations as well as lyrical melodies. For example, arco techniques such as the sul ponticello, in which the violin is played with the bow extremely close to the bridge to produce a thin, glassy sound; and the col legno, in which the violin is played with the wooded part of the bow instead of with the hair, all expose the violin to potential damage from the inadvertent striking of the instrument with the bow. To create special effects, even greater speed and force are often used, exposing the violin to even greater risks.
What is needed, therefore, is an apparatus for protecting a violin and other bowed stringed instruments from damage due to inadvertent striking of the sound box with the bow during normal use of the instrument.